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Killers of the Flower Moon trailer - Scorcese/DiCaprio crime drama about 1920s murders of Osage tribe members following oil discovery on their land, update: reviews from Cannes posted

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  • Commissar SFLUFAN changed the title to Killers of the Flower Moon trailer - Scorcese/DiCaprio crime drama about 1920s murders of Osage tribe members following oil discovery on their land

FUCK that trailer was good. 


"Can you find the wolves in this picture" with the last shot of the white people was just heavy handed enough. :p 



I'd not heard about this movie and didn't know about these crimes. I will definitely be looking forward to this. 

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I saw Marty and Leo’s sit down conversation with each other at Cinemacon, and it made me infinitely more excited for the film than the trailer.

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Reviews from Cannes:



Martin Scorsese’s movie about the Osage Nation murders sacrifices the mythic sweep of David Grann’s book in favor of telling a poisonous love story.



It’s a difficult balancing act for a filmmaker as gifted and operatic as Scorsese, whose ability to tell any story rubs up against his ultimate admission that this might not be his story to tell. And so, for better or worse, Scorsese turns “Killers of the Flower Moon” into the kind of story that he can still tell better than anyone else: A story about greed, corruption, and the mottled soul of a country that was born from the belief that it belonged to anyone callous enough to take it. 




Instead of focusing on the Native victims, Martin Scorsese lets Leonardo DiCaprio and Robert De Niro have the lion's share of the screen time.




Stylistically, this feels like a young man’s movie. It’s engrossing from the get-go, the palpable tension methodically echoed by Robbie Robertson’s steady-heartbeat score. But it keeps going and going




Leonardo DiCaprio, Robert De Niro and Lily Gladstone star in this macabre western about serial murders among the Osage tribe in 1920s Oklahoma, which reflects the erasure of Native Americans from the US



Scorsese presents a remarkable story, with an audacious framing device of a briskly insensitive “true crime” radio show featuring Osage characters crassly played by white actors. This is an utterly absorbing film, a story that Scorsese sees as a secret history of American power, a hidden violence epidemic polluting the water table of humanity.




The filmmaker takes on David Grann’s bestseller about a murder epidemic among the Osage and turns it into a masterful indictment of white supremacy.



[A picture] brimming with reverence for a culture that survived a horrible trauma as it is filled with exhilarating flourishes, film history references, and explorations of the faultline between the sacred and profane. And yes: It’s a masterpiece.




Robert De Niro also stars in the epic adaptation of David Grann’s book about the Osage Murders, with a supporting cast that includes Jesse Plemons, John Lithgow and Brendan Fraser.



Based on David Grann’s acclaimed nonfiction book about the Osage Murders, as they became known, this is a sprawling, densely plotted work that demands a lot of its audience. But the three-and-a-half-hour running time is fully justified in an escalating tragedy that never loosens its grip — a sordid illustration of historical erasure with echoes in today’s bitterly divisive political gamesmanship.




Cannes 2023: Leonardo DiCaprio, Lily Gladstone and Robert De Niro are terrific in Martin Scorsese's true crime epic Killers of the Flower Moon.



Killers of the Flower Moon is vast and vital in its scale, purpose and emotional scope, a Western-thriller and ensemble piece that is every bit a Scorsese crime picture as one can dare to imagine.




DiCaprio and De Niro are brilliant, but it is relative unknown Lily Gladstone who is truly extraordinary



Killers of the Flower Moon, despite the weighty presence of DiCaprio and De Niro, is ultimately framed around the perspective of the Osage Nation, who worked extensively on the production as consultants, craftsmen and actors (Gladstone herself, to clarify, is not Osage but of Blackfeet and Nimiipuu heritage). The film begins and ends with their rituals, its prologue adapted from Osage writer Charles H Red Corn’s A Pipe for February. It even seems to issue a warning to those who would try to destroy them. In a key scene framed by the burning of farmland, Mollie tells Ernest: “You’re next”. In this quietly apocalyptic retelling of history, white America’s destruction will not end at its own borders – eventually, it will consume itself, too.




It’s not Martin Scorsese’s western, and it’s not another gangster epic. It’s his marriage story.



That is, in many ways, the great, cruel, unreconciled tragedy at the heart of this tale. It also perhaps explains Scorsese’s decision in the later scenes to go in a heartbreakingly intimate direction. As Ernest continues to ping-pong between his loyalties to Hale and Mollie, seemingly too weak and too plain to find anything resembling a moral backbone, we feel like we’re watching someone slowly being tortured to death by his own inadequacy. Maybe that’s also why the story never really achieves closure, or anything resembling redemption. By the time Scorsese himself comes onscreen to deliver the picture’s final lines — in an incredibly moving cameo, placing himself alongside the showmen and sensationalists who’ve told the story of the Osage murders over the decades — we may actually find ourselves surprised that the movie is over. It feels like an open wound right up to the end.




Leonardo DiCaprio, Robert De Niro, and Lily Gladstone anchor a riveting American crime story.



It’s a genocide in miniature, essentially, through which Scorsese addresses the much larger displacement and eradication of Native Americans. Unlike his other mobster pictures, Killers of the Flower Moon is never giddy about its violence. Some scenes have a propulsive energy, but the film is often as solemn and ruminative as Silence, Scorsese’s whispery epic about extreme faith. Still, by the end, the film has spoken plenty loudly about the long horror of colonialism, its horrifying reach and ruin.




The highly anticipated adaptation of David Grann’s book is extraordinary filmmaking—and a big win for Apple TV+.



De Niro is magnificently unsettling in the film -- it might be the best work he’s done with Scorsese since Goodfellas -- but the emotional powerhouses are DiCaprio and Gladstone.




The searing, sprawling 'Killers,' which premiered Saturday at Cannes, is both like and unlike anything its director has ever done.



At times you’ll wish cinematographer Rodrigo Prieto would linger longer on the wide-open prairie landscapes or on the lively, quotidian hustle and bustle in the streets of Fairfax. At key moments, Scorsese and his co-writer, Roth, will dramatize an Osage wedding, burial or other ceremonial tradition, pausing to take in the faces in the crowd and the intricate patterns on their robes. Or they’ll usher us into a meeting where tribal elders speak out against the violence being done to them.


The impact of their story may ultimately be more muffled than it should be, but in these isolated moments you hear their voices, their fury and their despair loud and clear.




Lily Gladstone forms a devastating partnership with Martin Scorsese in 'Killers of the Flower Moon,' an Indigenous epic.



The actors — DeNiro, Plemmons, John Lithgow and Brendan Fraser as lawyers, and especially DiCaprio—are game and give meat to the scenes. But it feels too locked to the perspective of white guilt and white punishment that feels misplaced when the story is right there with Mollie. 


That doesn’t mean Scorsese is unaware that it’s an Osage narrative. In the film’s final sequence — which playfully moves the proceedings from a stuffy courtroom environ and claustrophobic jail cells to a radio play — he punches the film home by recentering the perspective. Without spoiling too much, the first swing comes from a trusted voice (putting that person’s integrity and relationship with the audience on the line), and the next is given by the Osage people themselves (this time in a modern milieu). The last-second recalibrations are just enough to put a bow on a film that sees Scorsese in near aesthetic and sonic control, even if the narrative leaves much to be desired. “The Killers of the Flower Moon,” a visceral epic, is the story of the wreckage of a people, the evil in white men’s hearts and the poison they spread, and the erasure that occurs when their stain touches you. It’s powerful, even when you’re left wondering if someone else could’ve spread the gospel.




Leonardo DiCaprio and Robert De Niro star in a sinuous, pitch-black tragedy about how the west was really won



The realisation that the fossil fuel underfoot is made of so much rotting matter only adds to the sense that Scorsese is weaving an alternative American creation myth here.


Killers of the Flower Moon plays out as a muscular, pitch-black tragedy about how the west was really won, recasting Eden as a barren grassland where the only fruit is crude oil and the blood on the ground plants the seeds for the future.




A review of 'Killers Of The Flower Moon' from Martin Scorsese premiering at Cannes with Leonardo DiCaprio, Robert De Niro and Lily Gladstone.




Scorsese is interested more in what is between the lines, the questions that remain unanswered, how they can possibly get away with this, and how far they might go, and perhaps how far we as a nation have not come.


There are many ways to spoil the sheer pleasure of watching a master filmmaker handle a vast tale like this, working at the top of a very impressive game at a time when many have retired. I won’t do that except to say with a length of 3 1/2 hours the filmmaker and his longtime editor, Thelma Schoonmaker, don’t seem to be wasting any time. Yes, it feels truly epic in many ways, but all in service to the story. I never looked at my watch.



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  • Commissar SFLUFAN changed the title to Killers of the Flower Moon trailer - Scorcese/DiCaprio crime drama about 1920s murders of Osage tribe members following oil discovery on their land, update: reviews from Cannes posted

Jim Gray, the former Principal Chief of the Osage Nation, discusses his and the tribe's involvement in the making of the film in the extensive Muskrat App thread below:



I was fortunate enough to get a private screening of the film, Killers of the Flower Moon earlier this month. Having been marginally released from my NDA with the premiere of the film today at Cannes, I have a few thoughts.
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The iconic director's new movie, 'Killers of the Flower Moon,' continues his quest for radical truth.




Grann’s book focuses largely on the birth of the Bureau of Investigation—now known as the FBI—and specifically on one of its most upstanding agents, Tom White (played by Jesse Plemons). Originally, DiCaprio was supposed to play White. But something about that framework bothered both him and Scorsese. “After a certain point, I realized I was making a movie about all the white guys,” Scorsese says. “Meaning I was taking the approach from the outside in, which concerned me.” Eventually, he and DiCaprio realized that the heart of the movie wasn’t the birth of the FBI, but the love story between Ernest and Mollie. That became the film’s core.


That shift in perspective also opened space for one of the film’s greatest performances, from Gladstone. In her, Scorsese says, there’s “a fierceness and serenity at the same time. And it’s encased in this intelligence—the eyes say it all.” Gladstone also spurred some of the movie’s finest improvised dialogue. Early in Ernest and Mollie’s courtship, she calls him a coyote, but in Osage. DiCaprio, in character and, as always, quick on his feet, counters with an unscripted line: “You must mean handsome devil.” Gladstone laughs, just as Mollie might have in real life. The moment made it into the movie, because you can’t buy that kind of spontaneity.



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I pissed twice in the 30 minutes before Oppenheimer started and still barely made it to the end credits. 3 hours is apparently my limit. I'm gonna wait for this to show up on home streaming so I can hit pause about half-way through and Seven Samurai this bitch. 

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1 hour ago, CayceG said:

I pissed twice in the 30 minutes before Oppenheimer started and still barely made it to the end credits. 3 hours is apparently my limit. I'm gonna wait for this to show up on home streaming so I can hit pause about half-way through and Seven Samurai this bitch. 


A good choice! Or you could go to the bathroom and just miss a bare few minutes at the theater as well. :p 

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19 hours ago, TwinIon said:

I wasn't sure when this came out, so seeing all the great review had me hyped, but it's still more than a month away.

My least favorite thing about film festivals (especially since I can’t go to any of the big ones!). 

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